The down is a ruler who pitches his tent on Hızır's day and marches with army and sword-bearers, and five musical modes from Uşşak to Pençgâh meet in a single couplet.
A ghazal that turns to prayer with "O you nearer to me than myself": nearer than the jugular vein, wine that comes on its own feet, Azerbaijani forms, nightingale and moth.
Timur's advance into Anatolia in six couplets headed "Diger, bu da nazm": oppression covering the world, lawful and unlawful mixed, people in flight, gold turned to copper.
Three couplets of disputed authorship, given to Mehmed II by Âşık Çelebi and others but to Bayezid II by Latîfî: the dagger of reproach, the shears of grief, the angels' prayer.
The section on the masters and the sheikh's treatise: the lineage from the Prophet to Mustafa İsmet, praise of Mevlânâ Hâlid and Abdullah Mekkî, and the Risâle-i Kudsiyye.
Münîrî's Persian response to Hâfız: the reed flute laments with the lover recalling last night, Farhad's suffering is invoked, and love's captive is freed of both worlds.
Adlî's seven-couplet ghazal on the refrain "degül ol" makes his tears greater than the ocean, the rival an untrained hunting dog, and the poet lord of a land of pain.
Sâhib's ghazal woven in madrasa language: the rising sun and the book Şerh-i Metâli', the jurists' rule of lesser and greater, love through the ear, five couplets as fingers.
The rhymes meet in "-ağlar" and most carry two meanings: brand and mountain, weeping and nets, blade and crow; the refrain "çekilüp" plays on the idioms of Turkish.
Ankara in four couplets and a witness: Bayezid captured, Mehmed withdrawing to Amasya with its troops, and the author's informant Koca Nâyib made warden of Amasya.
A Persian response to Hafez's famous "Turk of Shiraz": a sultan's couplet saying that if that Frankish infidel takes our heart, he will give Istanbul and Galata for his Indian mole.
A Persian eulogy of Mustafa İsmet Efendi: the double sense of the refrain “‘İṣmet”, the sheikh as moonlight and God's sword, the realm of Süleyman and the lineage.
Münîrî's Persian ghazal on the rose and the nightingale: a pun on gül-zār and gül zār, the thorn that wins the rose, and the rose's gold as blood money for the nightingale.
Adlî's five-couplet ghazal likens the crescent to an old slave bent before the eyebrow, plays on the calligraphic terms ruby, nesih and reyhânî, and calls each ghazal a petition.
A ghazal seeking the daring lover who would declare the beloved peerless: a nightingale whose delight is its cry, a share from the sea of the soul, and a veil to be lifted soon.
Timur, worse than an infidel, winters in Aydın, destroys hospices, mosques and medreses and returns the lands to their old lords; Bayezid dies at Akşehir. Five couplets.
A one-couplet threat against the Karamanid lord: "That man of Karaman, they say, talks of sovereignty with us; if God gives the chance, I will mingle him with the black earth."
A chronogram on the death of Mustafa İsmet Efendi in 1289: a sheikh likened to Bistâmî, nearness from the chapter of the Star, a disciple's grief and the date line.
Münîrî's Persian ghazal on the refrain "āyed": the beloved as a nimble horseman, the cup in rose season, words to the ascetic, and the poet praising his own pearl-like verse.
Adlî's five-couplet spring ghazal in a short metre: the rose scatters coins, the hyacinth tears its hair, the forelock turns highwayman, and the poet prefers haircloth to satin.
Sâhib's ghazal with the refrain "-âsı yok": a heart holding trust in God as a life-tenure estate with no field or village, the city of contentment and the land of greed.
The cup goes round for the thirsty of Karbala: wine upon wine and kebab upon kebab, a heart not cleansed without the cup, the rind's ill name, and an answer to love's martyr.
Emir Süleyman, sunk in drinking parties and overthrown by Musa, is rebuked in three couplets; earlier Mehmed Çelebi had sent him envoys from Amasya.
The only Arabic couplet in the divan: two lines recorded in Ali Emîrî's Cevâhirü'l-Mülûk, lamenting with two cries of "alas" a departure with no return and longing for friends.
A ghazal with the refrain “etdim” addressed to Mustafa İsmet: the motif of turning to the true faith through love, rabıta as the eyebrow-mihrab, and blame as honour.
Münîrî's Persian ghazal on the refrain "sefīd" (white): white and black change places in each couplet, black fortune awaits dawn, and the weeping eye sees again.
Adlî's five-couplet ghazal on the refrain "kul" makes pepper, cypress, pearl and the wise all slaves of the beloved, and the sultan-poet counts himself one of many slaves.
Sâhib's ghazal rhymed on reduplications: a bud reciting sura al-Fath, a nightingale reading leaf by leaf, the tulip of Kefe and the Tatar raider, servants inspected hearth by hearth.
A ghazal of seeking with the refrain "itdim taleb": a burning soul, a house given to the wind, renunciation, cave and desert, and a quest ending in "I woke" or "I wept".
Musa Çelebi takes the throne in Rumelia while Mehmed Çelebi, hearing in Amasya of Emir Süleyman's death, comes from there to Bursa: two long-lined couplets.
A single couplet printed without a source: the bewilderment of a lover who asks whether there is no justice in the making of the world, or whether he is still not worthy of mercy.
A ghazal of devotion to Mustafa İsmet: the master's word before the world, a secret kept from ascetics, and the master's tomb as the greatest House instead of Mecca.
Münîrî's Persian ghazal on the refrain "keşīd": the sun takes its heat from the beloved, veils its face for shame, and trembles like Münîr's heart in separation's fever.
Adlî's five-couplet ghazal on the refrain "eyledüm" adorns his arms with brands of separation, flees stones into a heart of stone, and says amen to the prayers of love's elder.
Sâhib's ten-couplet ghazal with the refrain "-andırıncaya dek": a poem of patience in causative verbs, the two senses of kandırmak, an embroidered handkerchief, a watering inkwell.
The preacher called "bookless": the lovers' Quran, the garden of vision, the Messiah's detachment, a rind refusing the cup of attachment, Mount Elburz and delight without the rebab.
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